I would say my parents were really supportive after a point. I had to prove to them that I am not just dreaming; I can really make it.
— Karthik Subbaraj
Although technology has been playing a key role in filmmaking, I feel there are plenty of opportunities in other branches of filmdom.
At any filmmaking class, you learn the power of the visual medium and are always trying to minimise the words.
I was doing it the amateur way, doing everything myself till 'Naalaya Iyakunar.' They said, 'You need crew members'; they insisted on having proper production values. So I learnt a lot about making films for that show.
On an average, any short film will cost at least Rs. 60,000. Apart from film festivals, where is the avenue to get that money back?
Filmmaking is never easy as long as you continue learning from the process.
In India, we always look at feature films as a progression over short films. But, abroad, people make a living making short films. The revenue might not be as much as in feature films, but the return on investment is good.
You need to be a good filmmaker to make a compelling two-minute film as well.
Vijay Sethupati has been a part of almost all my films. He trusts me blindly, and I feel the same trust in his abilities each time.
If a star film does not have a good story, it will not run. This will make stars choose good scripts consciously.
I did a lot of short films before doing feature films.
'Mercury' is one of the most challenging projects I have worked on. From the nuances of the actors' expressions to the minute technicals of the movie, everything needed to be monitored and looked into. The actors were required to emote purely with their face.
I would like to direct good actors, and there are good actors who are stars.
My parents have let me do whatever I am interested in. Initially, they were apprehensive, but when they realised that filmmaking was my passion and that I was doing a good job with the short films and the recognition in 'Naalaya Iyakkunar' TV show, they supported and encouraged me.
'Mercury' is about a big company exploiting a small town. There is a place in Tamil Nadu called Kodaikanal. It had a thermometer factory, which would dump the mercury into the river. This affected a lot of people. This incident is the inspiration for this film.
When I made 'Pizza,' all I had in my mind was to make the film reach as many people as possible.
Ever since I made the short film 'Black And White,' which had almost no dialogues, the idea of making a silent feature film fascinated me.
I started learning filmmaking by joining a weekend film school in Bengaluru. I made some amateur short films that got appreciation from people around me.
Having spent five years in the technological domain, I see the experiences in the entertainment industry from a technological perspective.
I worked with an indie filmmaker called Mark Williams, a lawyer who was making a zero-budget family drama called 'Move Me.'
Out of the five years I spent in software, I was in the U.S. for two.
I would say 'Jigarthanda' had a lot of Tarantino in it, but it ends there. 'Iraivi' is inspired more from directors like Balu Mahendra, Mahendran, and K. Balachander.
'Iraivi' is about women, men, and their priorities. It talks about women's freedom, how men look at it, and how women use it. It's neither preachy, nor is it about women's empowerment.
If one makes a short film with reasonable technical finesse, it will cost between Rs. 50,000 and Rs. one lakh. That's a lot of money for someone starting off.
There are some stories that can be told in two hours and some in 20 minutes.
I met Rajini sir after 'Jigarthanda,' and he said he liked my film. He told me I could approach him whenever I had a good idea. I had never thought he would listen to scripts from new directors. After the meeting, I wondered, 'Should I take his words seriously or not? Should I write something?'
You need actors and performers, but there has to be content in a film.
Cinema is a visual medium one has to communicate through visuals, and therefore, dialogues should be less.
I start writing with an open mind without thinking about genre and realise, only after writing, that it falls under many genres.
No, I am not after huge stars. But I have no reservations about working with stars.
While working in Bangalore, I was making short films.
For a cinematographer, every frame has to be important.
In a silent film, the visuals are of utmost importance.
I started as a short filmmaker and found that one of the toughest challenges was getting your film to be watched. I would enter it in competitions and release it online, but getting a mainstream theatre-going audience to view the film is difficult.
I have been trying to get theatre releases for short films ever since I have been making them. I didn't get any response from theatres initially.
When I hear the news that the pirated version of my film is doing rounds, I cannot keep quiet.
I worked in a software company in Bangalore and made short films during weekends. I learnt the basics during a one-day workshop called Film Camp Sanjay Nambiar.
For 'Neer,' we spent about Rs. 70,000 just on the boat.
Good actors can make a huge difference to a scene that might sound or read flat.
I believe filmmakers must travel with their creations long after release.
We considered a few Bollywood actors as well for the villain role in 'Jigarthanda,' but we finally zeroed in on Simha because we felt he would be the most unexpected person to play it. Had we cast someone popular, then it would have become predictable.
When I was making short films, I didn't see a way to give them a wider reach or earn revenue out of it.
Usually, I write my scripts first, then think of the actors, or I have a reference of someone.
After doing two feature films, I got an idea for a thriller film and felt this could be made without any dialogues.
Besides being one of the most ambitious projects I have worked on, 'Mercury' has also helped me enhance my skills as a director.
Rajini sir has always been a part of my life from childhood. And I entered into filmmaking because I was influenced by his films.
My father has been a part of a few short films I made; he played a small but significant role in 'Jigarthanda.'
For any actor, voice is his strength.
I made a lot of short films before making a feature film. Actually, I learnt film-making by making short films.
The core plot of 'Mercury' is so gripping that when I thought of making it as a silent film, it only made it more interesting. Once I finished writing the first draft, making a silent film that's both thrilling and engaging seemed possible. When the film team read the final script, they felt the same.
